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  3. look closest-path and relative-closest-path. S.
  4. Dear Janusz, I was looking back to this textural method and I noticed that "chord-closest-path" function no longer exists. What the name of the new correspondent replacement function ? Best, Julio
  5. because in such a fast "basic tempo" they were too close to "17" and "23" i think in slower tempo it makes sense to work with numbers they are close/closer to each other. then the perception compares the tempi, when the GAPS are to large it's only "SLOW/FAST".... depends on your ideas... THANKS FOR THE HINT, i will look at it!! andré
  6. No '13' or '19'? I find the Ulam Prime Spirals and Abarim 'Pillars' to also produce interesting polyrhythms:)
  7. Each licence has two installations. You should be fine.
  8. Thank you! Do I download the trial version and enter my license? I've already purchased a 1.3 upgrade a few months back.
  9. Congratulation to your new CPU! You find the latest version in the Downloads page.
  10. I would like to download version 1.3.24962 but I don't see the link on the main forums page. I have a new computer and I'd like to install opusmodus! Many thanks, Avner
  11. polytemporal fall - algorithmic study [with tempo relations 3:5:7:11:17:23:29] https://soundcloud.com/andr-meier-1/algorithmic-study-polytemporal-fall this is a small example: i coordinate and play MIDIs (in this case this are simple scales) in OPMO via OSC -> maxmsp_player. you can here how precise you can coordinate simple [but polytemporal] scales => all the MIDIs coincide (?) - 30000ms after the evaluation of the code - in an unsiono pitch!!! in that way you can coordinate different scores/midi's (which have individual tempos (!)) very precise. with OSC/maxmsp_player you can change/manipulate the tempi of the midi's (directly from OPMO) so you can be variable with pre-produced midis (perhaps produced in OPMO)... greetings a.
  12. dear janusz when will be the next update (with midi-to-omn)? and it would be also nice to GET from midi: bpm duration (of the whole midi, as a result of tempo/bpm and the lengths/rests) ...if possible... thanx a.
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  14. Very interesting opportunities here.
  15. Dear Stéphane, Thank you! That helped a little, still not sure what is the difference between partials and frames. I saw that it is possible the resynthesize a sound with CLM, an example would be very helpful. Also I would like to know if its only possible to get tempered pitches out of spectral data, don't know if OM is capable of microtonal MIDI generally (which is a very tricky special beast I think)..? Thanks anyway& all the best ole
  16. I wrote this example for one of my student few years ago. I don't know if it could help you but just in case.... Best wishes Stéphane Spectral-remap1.opmo
  17. To bump my own request, am I the only one who whishes some more simple examples, to understand the 'spectral data '-thing better?
  18. midi-to-omn will be super useful for me, thanks ! Stéphane
  19. The midi system and the conversion to score is very complex indeed. There is not an easy solutions to extract individual midi instruments (tracks). Anyway, it is done MIDI-TO-OMN and hopefully useful to others. "What you are doing Janusz is quite bad and unsafe" - I heard this very often and still I am, it is part of programming
  20. "What you are doing Andre is quite bad and unsafe" very friendly, your answer ...and i knew that, but i didn't found some hints (jn the tutorials) how to extract OMN from def-score. of course it is not good, but it took me only 2 minutes to briefly the problem for my specific application. i have not written any official opusmodus-function (which can do anything) but a simple solution which helps me.
  21. What you are doing Andre is quite bad and unsafe. I made already a function for it and it will be part of the next release: (setf 000504b "~/Opusmodus/Media/MIDI/Bach/Chorals/000504b_") (midi-to-omn 000504b :instrument 1) => ((-e g4 ff e. b4 s c5 e d5 f4 ab4 g4) (q e4 -s e4 g4 c4 e f4 ab4 ab4 f4) (e db4 db4 - c4 bb4 bb4 db5 c5) (e ab4 ab4 -s c4 f4 g4 e ab4 f4 e. b4 s c5) (q d5 -e g4 c5 a4 e. gb4 s g4) (e g4 d4 -h -e bb4) (e. bb4 s f4 e e g4 ab4 f4 d5 f4) (e eb4 c4 - c4 bb4 s c5 db5 -e c5) (q a4 -e bb4 bb4 g4 eb4 g4) (q ab4 -e eb4 s db5 bb4 e c5 - eb4) (e eb4 bb3 -q. e g4 bb4 eb4) (e ab4 -s f4 e d5 f4 q eb4 -e c4) (e. g4 s a4 bb4 bb4 bb4 c5 q db5 -e c5) (e a4 a4 c5 f4 ab4 ab4 b3 d4) (e f4 f4 - d4 g4 c4 e. b4 s c5) (e c5 g4)) (midi-to-omn 000504b :type :pitch :instrument 2) => ((c5 c5 d5) (eb5 f5 g5) (g5) (g5 f5 eb5 eb5) (d5) (d5) (eb5 f5 g5 g5) (f5 g5 g5) (eb5 f5 g5 g5) (f5 eb5) (g5) (bb5 g5 g5 g5) (f5 f5 f5) (g5 f5 eb5 f5) (d5 c5)) (midi-to-omn 000504b :type :length :instrument 2) => ((-1) (-1/4 1/4 1/4 1/4) (1/4 1/4 1/2) (-3/4 1/4) (1/4 1/4 1/4 1/4) (1/2 -1/2) (-3/4 1/4) (1/4 1/4 1/4 1/4) (1/2 1/4 1/4) (1/4 1/4 1/4 1/4) (1/2 1/4 -1/4) (-3/4 1/4) (1/4 1/4 1/4 1/4) (1/2 1/4 1/4) (1/4 1/4 1/4 1/4) (1/2 1/2)) (midi-to-omn 000504b :type :pitch) => (((g4 b4 c5 d5 f4 ab4 g4) (e4 e4 g4 c4 f4 ab4 ab4 f4) (db4 db4 c4 bb4 bb4 db5 c5) (ab4 ab4 c4 f4 g4 ab4 f4 b4 c5) (d5 g4 c5 a4 gb4 g4) (g4 d4 bb4) (bb4 f4 f4 g4 ab4 f4 d5 f4) (eb4 c4 c4 bb4 c5 db5 c5) (a4 bb4 bb4 g4 eb4 g4) (ab4 eb4 db5 bb4 c5 eb4) (eb4 bb3 g4 bb4 eb4) (ab4 f4 d5 f4 eb4 c4) (g4 a4 bb4 bb4 bb4 c5 db5 c5) (a4 a4 c5 f4 ab4 ab4 b3 d4) (f4 f4 d4 g4 c4 b4 c5) (c5 g4)) ((c5 c5 d5) (eb5 f5 g5) (g5) (g5 f5 eb5 eb5) (d5) (d5) (eb5 f5 g5 g5) (f5 g5 g5) (eb5 f5 g5 g5) (f5 eb5) (g5) (bb5 g5 g5 g5) (f5 f5 f5) (g5 f5 eb5 f5) (d5 c5)) ((b2) (bb2 ab2 f2) (g2 ab2 e2) (d2) (b2 c3) (d3 g2) (d3 b2) (c3 ab3 e3) (eb3 d3 db3) (c3 b2 bb2 a2) (bb2 eb2) (b2 c3) (db3 e2) (eb2 d2) (b2 c3 ab2) (gb2 g2 c2))) (midi-to-omn 000504b) => (((-e g4 ff e. b4 s c5 e d5 f4 ab4 g4) (q e4 -s e4 g4 c4 e f4 ab4 ab4 f4) (e db4 db4 - c4 bb4 bb4 db5 c5) (e ab4 ab4 -s c4 f4 g4 e ab4 f4 e. b4 s c5) (q d5 -e g4 c5 a4 e. gb4 s g4) (e g4 d4 -h -e bb4) (e. bb4 s f4 e e g4 ab4 f4 d5 f4) (e eb4 c4 - c4 bb4 s c5 db5 -e c5) (q a4 -e bb4 bb4 g4 eb4 g4) (q ab4 -e eb4 s db5 bb4 e c5 - eb4) (e eb4 bb3 -q. e g4 bb4 eb4) (e ab4 -s f4 e d5 f4 q eb4 -e c4) (e. g4 s a4 bb4 bb4 bb4 c5 q db5 -e c5) (e a4 a4 c5 f4 ab4 ab4 b3 d4) (e f4 f4 - d4 g4 c4 e. b4 s c5) (e c5 g4)) ((-w) (-q c5 ff c5 d5) (q eb5 f5 h g5) (-h. q g5) (q g5 f5 eb5 eb5) (h d5 -) (-h. q d5) (q eb5 f5 g5 g5) (h f5 q g5 g5) (q eb5 f5 g5 g5) (h f5 q eb5 -) (-h. q g5) (q bb5 g5 g5 g5) (h f5 q q) (q g5 f5 eb5 f5) (h d5 c5)) ((w b2 ff) (h bb2 q ab2 f2) (q g2 ab2 h e2) (w d2) (h b2 c3) (-q d3 h g2) (h d3 b2) (q c3 ab3 h e3) (q eb3 d3 h db3) (q c3 b2 bb2 a2) (-q bb2 h eb2) (h b2 c3) (h db3 e2) (h eb2 d2) (h b2 q c3 ab2) (q gb2 g2 h c2))) (midi-to-omn 000504b :instrument 1 :bars '(1..4)) => ((-e g4 ff e. b4 s c5 e d5 f4 ab4 g4) (q e4 -s e4 g4 c4 e f4 ab4 ab4 f4) (e db4 db4 - c4 bb4 bb4 db5 c5) (e ab4 ab4 -s c4 f4 g4 e ab4 f4 e. b4 s c5)) Janusz
  22. oh, this was simple here is a small program, it works... (defun get-pitch-from-midi (midipath) (loop for i in (flatten (compile-score (midi-to-score midipath) :output :score)) when (or (chordp i) (pitchp i)) collect i)) (get-pitch-from-midi "path/filename") also with length?! (defun get-length-from-midi (midipath) (loop for i in (flatten (compile-score (midi-to-score midipath) :output :score)) when (and (lengthp i) (not (integerp i))) collect i)) (get-length-from-midi "path/filename") but will not work with more then one voice / its not necessary for MY needs, so i coded only this simple solution - perhaps janusz will do it?
  23. Not directly. First you need to import the midi file to score and then extract the pitches with OMN function. I like the idea, maybe we will add this functionality in the future.
  24. Yes, interesting. And importing MusicXML is also important and desirable.
  25. dear all is there a quick way to import (or filter) only pitches and chords from a midi-file? if i only use these (nothing else from midi/xml) thanx for a hint andré
  26. Dear All, One interesting thing that could be implemented as a function could be a form of generating Negative Harmony. In the video below, there are some explanation of what it is and the origin in the Levy book. It was a trendy topic due to the Jacob Collier interview. And there are a lot of fun videos making versions of pop tunes using negative harmony. The way I understand it, it is simply a kind of mapping notes in relation to an axis, like in the figure below. So we need a function that could map a note in any register to another note in the closest register to the first on. So, any C note will be mapped to G, all Db to F#, all D to F, all, Eb to E, all B to Ab, all Bb to A. It´s also possible to generate other mappings as well. I think that replace map or substitute map can do the job, but I´m not sure (I will try), but I find interesting to post it here to explore the idea. All the best, Julio It´s kind of funny to sse in this por versions how every is upside down and how you can generate an entirely new song from exactly the same material. POP TUNES with negative harmony:
  27. Torsten, that makes sense. Thanks for the clarification!
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